The Purple Files: Buckram stiffening Investigated
My First Tudor gown by La Signora Onorata Katerina da Brescia.






Inspirations:
*UPDATED* This sottana has been remade with linen lining for the imbusto.

Portrait of a Lady from the New York Metropolitan Museum and Portrait of a Young Woman in the Style of Hans Holbien the Younger (1540-50), The Jules Bache Collection.
On the Far Right: My version

Research:


Method:
The pattern was created by using a toile.  Layers of the bodice included:
  • outer layer (linen used, as was available)
  • interlining: two layers of cotton canvas with a layer of buckram sewn between
  • lining of black linen
The seams were flatfelled with hemsitch, as discussed in Tudor tailor.  (right)

Stiffening:
I was intrigued when I first got my copy of Moda a Firenze, as it put forward that corsets were not recorded as being worn in the mid to early 1500's. Portraits appeared to have a rigid imbusto. It was suggested that 'cardboard' or other stiffeniings were placed into the interlining of the bodice. Curiously, I read a similar thing in Tudor Tailor. So I thought I would experiment. As I was recreating a version of a 1540-50 Tudor dress, it would be interesting to see how
the bodice would look, feel and hold up!
Below, is the canvas interlining. There is a layer of buckram (stiffened linen) between the two layers of canvas.
I would have preferred stiffer buckram, but I used what I had on hand... The edges of the outer layer were turned over  the interlining as seen below Right.
The final lining (linen) was folded over in a similar manner and hemstitched (flat lined) to the bodice.

The sleeves were completed and the head was finished in the same way and 
whipstitched to the armhole, with some cartridge pleating at the head (this can be seen in the Portrait of a Lady) Inspiration) Theskirt was also completed separately, then whip-stitched to the bodice.

Decorations:

I made each 'jewel' with jeweler's wire and red beads (from an  op-shop necklace) and glass beads. This saved a lot of money, but takes time. Each jewel was sewn to a linen bias before attatching the bodice. I wanted them 
to be removable, so I could recycle the dress later for use as an underdress or tourney dress.

I was happy with the look of the bodice, It looked comparably 'flat' with regards to the original portraits, seen on the left.

I used a red linen underskirt instead of a farthingale. Again, Tudor Tailor states that the farthingale was used later (Princess Elizabeth had one in her portraits) with the larger sleeves.
The narrower sleeves appear to be an earlier fashion, hence no farthingale.
Headwear: A version of a French Hood:
The portraits have a form of French Hood. I wanted one that was both easy to wear. I found a really good proposal for the construction of a French Hood at Mode Historique.
First Layer.
Firstly, a coif was made of linen. I hemmed in the edges, turned over the top to form the coif shape and whipstitched the edges. The trim was made from a metallic ribbon which I cartridge pleated. (I was not sure it would heat pleat without melting!) The cord channel was also hand sewn and a hand-knitted cord added.
Second Layer:

The back was made from black cotton velveteen (it really pays not to throw out bits of material!!) to the pattern on the left. (you can see where I planned on adding the jewels).

The velveteen veiling was flat lined with black 'gold satin' from yet another project. Millinry wire was used to give a rounded "U" shape to the front. This was the only wire used in this project.
Putting it together:
This makes the whole ensemble very stable.

Final outfit:
Left: Inspiration. Right: my interpretation.


Conclusions and Assumptions:
Assumptions:
  1. similar tailoring methods were used in 1540s' Italy as to 1540's England. (as to research available)
  2. stiffening used instead of corset (based on published research)
  3. use of linen is suitable substitution (due to cost and availability)
  4. theory for method of making French Hood
  5. Hem treatment not visible on portraits.
  6. Hair under hood is braided and taped
  7. Use of my Silk embriodered camicia was appropriate 
  8. Trim on sleeve could be applied "on top" of the sleeve
  9. the waist was 'dipped' and not straight (it is difficult to see in either  portrait)
  10. textile belt 
Conclusions:
The dress stiffening held up very well when at home... until I got into my car and put the seatbelt on.
Number 1 crunch!
Number 2  crunch: Poor modern posture added to my body type (really need to loose the middle).
This only 'folding' occurred below the bust. Otherwise the bust and stomach areas remained quite flat and still are! The buckram held up really well with the rainy day (I thought the moisture would be my biggest problems).

Bibliography:
  • Ajmar-Wollheim, Marta & Dennis, Flora (ed). At Home in Renaissance Italy. V&A Publications London, 2006. ISBN: 10 1 85177 488 2.
  • Brown, Pauline. The Encyclopedia of Embroidery Techniques.  New Burlington Books, London. 2002. ISBN: 1-86155-652-7
  • Currie, Elizabeth. Inside the Renaissance House. V&A Publications, London, 2006. 10 1 85177 490 6.
  • Mikhaila, Ninya & Malcolm-Davies, Jane. The Tudor Tailor. BT Batsford.London. 2006. ISBN:0 7134 8985 5
  • Tudor Research - www_kimiko1_com.htm (Portrait of a Woman)
  •  http://www.metmuseum.org/works_of_art/collection_database/european_paintings/
  • Portrait_of_a_Young_Woman/viewObject.aspx?&OID=110001110&PgSz=1
  • new tudor portratis http://www.marileecody.com 
  • Mode Historique:  Fabulous French Hoods (Sarah Lorraine)http://modehistorique.com/elizabethan/french_hood/french_hoods.html (3/08)
  • elizabethanportratis.com
  • anne boleyn gallery http://tudorhistory.org/boleyn/anneboleyn2.jpg
  • Archeological Sewing by Heather Rose Jones (2001)
  • http://heatherrosejones.com/archaeologicalsewing/index.html (new adsottana: 8/06)
  • Archive of Stitches from Extant Textiles. www.bayrose.org
  • Sewing Stitches Used in Medieval Clothing: http://www.personal.utulsa.edu/~marc-carlson/cloth/stitches.htm
  • HABERDASHERY FOR USE IN DRESS 1550-1800 by POLLY HAMILTON BA (Hons)
  • http://wlv.openrepository.com/wlv/bitstream/2436/14406/2/Hamilton%20PhD%20thesis%202007.pdf
  • http://modehistorique.com/elizabethan/french_hood/french_hoods.html#construction
(c) June, 2008






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(c). K.Carlisle, 2008.